B    3 


[ARIA 
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UNIVERSITY  FARM 


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THE   PAGEANT 
AN  AID  IN  HISTORY  WORK 


,-.:.- 


l'KA<  TICAL   AUT8   HALL,   FROM    T1IK   STAGE 


HISTORICAL    PAGEANTS 

STATE  NORMAL  SCHOOL 

FITCHBURG,  MASSACHUSETTS 
FLORENCE  M.  MILLER 


FITCHBURG,  MASSACHUSETTS 
1911 


UNIVERSITY  OF  CALIFORNIA 

LIBRARY 

BRANCH  OF  THE 

COLLEGE  OF  AGRICULTURE 


Copyright  1911 

by 
J.  D.  Miller  Co. 


Enterprise  Press,  Leominster.  Massachusetts 


THE    PAGEANT 

AN    AID    IN    HISTORY    WORK 


AN  EXPLANATION 

The  entertainments  described  in  this  pamphlet  were 
suggested  by  the  needs  and  are  a  part  of  the  regular 
work  in  history  at  the  State  Normal  School  at  Fitchburg, 
Massachusetts.  They  represent  an  attempt  on  the  part 
of  this  school  to  make  history  more  real  for  the  pupils, 
and  are  printed  in  the  hope  that  other  schools  may  be 
interested  in  this  kind  of  work.  The  entertainments 
seem  best  described  by  the  word  "pageant."  But  there 
is  no  desire  to  use  an  ambitious  name,  or  to  make  any 
special  claim  to  originality.  We  feel  sure,  however,  that 
the  educational  value  of  historical  pageants,  in  this 
simple  form,  and  the  ease  with  which  they  can  be  made 
a  part  of  the  regular  school  work  is  not,  as  yet,  fully 
realized.  For  this  reason,  to  an  outline  of  what  has  been 
done  in  this  direction  at  the  Fitchburg  School,  there  is 
added  a  brief  estimate  of  the  value  of  such  pageants  in 
the  teaching  of  history. 

A  few  words  as  to  the  origin  of  this  method  of  pre 
senting  history  at  the  Fitchburg  Normal  School.  When 
the  Lincoln  Centenary  was  in  the  minds  of  all,  the  first 
draft  of  the  Anti-Slavery  Pageant  was  prepared.  With 
such  aids  as  could  be  extemporized  in  Normal  Hall,  it 
was  given  Feb.  12,  1909,  to  mark  that  event  for  the 


PAGE  SIX 


school.  This  year,  when  the  fiftieth  anniversary  of  Lin 
coln's  inauguration  as  President  of  the  United  States 
demanded  recognition,  this  entertainment  was  revised 
and  enlarged.  In  the  new  Practical  Arts  Building,  the 
school  now  has  an  admirable  hall  for  entertainments  of 
this  nature,  and  the  pageant  as  printed  was  given  there, 
March,  1911. 

A  plan  for  a  Peace  Pageant  was  first  outlined  and  to 
some  extent  developed,  in  connection  with  the  work  of 
a  student  in  the  advanced  class  of  1910,  who  was  special- 
i/'mg  in  history,  and  who  made  the  plan  a  part  of  an 
essay  which  won  the  first  prize  offered  by  the  Peace 
Society.  The  pageant  herein  described,  and  which  was 
i:iven  at  the  school,  is  along  similar  lines,  but  amplified 
and  changed  in  treatment. 

When  the  legislature  made  a  legal  Columbus  holiday, 
it  was,  of  course,  the  duty  of  this  school  to  see  that  it 
was  properly  observed.  The  Columbus  Day  Pageant,  as 
herein  printed,  is  an  attempt  to  fulfill  this  duty. 

Christmas  customs  in  Old  England  have  so  much  of 
special  interest  and  historical  value,  and  lend  themselves 
so  readily  to  this  kind  of  treatment,  that  they  make  a 
special  claim  for  attention. 

It  should  be  kept  in  mind  that  illustrations  of  this 
general  nature  are  possible  in  connection  with  school 
work  only  when  the  arrangements  of  scene  and  dress  are 
kept  very  simple.  If  they  suggest  the  style  or  the  idea, 
the  rest  may  be  left  to  the  imagination.  It  is  clear  that 
to  make  one  elaborate  or  the  other  exact,  would  make 


PAGE  SEVEN 


the  whole  thing  impossible.  We  may  accomplish  much  if 
wise  enough  not  to  attempt  too  much. 

The  various  teachers  of  the  Practical  Arts  in  the 
Pitchburg  Normal  School  offered  valuable  suggestions  in 
carrying  out  these  entertainments,  and  assisted  the 
Normal  School  pupils  and  the  children  in  making  many 
of  the  articles  needed.  Everything  possible  was  made 
in  connection  with  the  work  of  the  school.  The  Normal 
School  pupils  made  their  own  costumes,  as  far  as  pos 
sible,  and  also  assisted  in  carrying  out  all  the  arrange 
ments.  The  ingenuity  and  originality  thus  developed 
on  the  part  of  the  pupils  in  the  Normal  School,  are 
valuable  results  from  this  kind  of  work. 

The  music  for  these  entertainments  was  under  the 
direction  of  the  teacher  of  music  at  the  Normal  School. 


THE   PAGEANT 

AN  AID  IN  HISTORY  WORK 


AN  ESTIMATE 

One's  success  in  conveying  ideas  and  emotions  to 
others  depends  very  largely  upon  the  forms  of  expression 
he  uses.  No  one  needs  to  be  reminded  how  much  the 
eye  aids  the  ear  in  this  matter,  or  how  greatly  this  aid 
is  needed,  especially  when  we  present  new  and  difficult 
ideas  to  children,  and  seek  by  these  ideas  to  train  the 
imagination.  It  is  clear,  therefore,  if  we  can  use  the 
eye,  as  in  posture,  gesture  and  facial  expression,  in  mak 
ing  any  subject  real  to  children,  great  good  will  follow. 
Certain  things  favor  the  trial.  This  form  of  expression 
is  natural  to  children.  This  is  evident  both  from  the 
fact  that  it  was  the  language  of  primitive  man,  and  is 
the  language  of  children  before  they  can  talk.  It  is, 
also,  a  universal  language.  We  must  make  use  of  this 
form  of  expression  if  we  travel  in  countries  where  we 
do  not  know  the  spoken  language,  and  are  without  an 
interpreter.  Then  we  all  know  how  difficult  it  is,  by 
the  written  and  spoken  word  only,  to  convey  new  ideas 
even  to  adults.  This  difficulty  is  much  greater  when  we 
are  dealing  with  children.  For  this  reason  we  constantly 
use  this  sign  language  to  help  make  the  spoken  word 
more  vivid.  Young  people  not  only  easily  grasp  an  idea 
which  is  pictured  or  acted  for  them,  but  will,  with  very 

2 


PAGE  TEN 


little  help  from  a  teacher,  act  out  the  whole  thing  for 
themselves,  and  in  this  way  present  the  ideas  or  facts 
to  others.  From  this  it  is  easy  to  get  several  children 
to  unite  in  presenting,  in  the  form  of  tableau  or  rep 
resentation,  any  ideas,  events  or  scenes  which  the  teacher 
wishes  to  impress  upon  the  imagination. 

Tableaux,  or  representations  of  this  character,  may 
l)c  used  to  great  advantage,  and  should  be  used  in  the 
leaching  of  history.  This  is  true  both  on  account  of  the 
difficulty  of  the  subject,  the  many  new  ideas  which  it 
presents  to  the  mind  of  the  child,  and  not  less  because 
of  the  large  demand  which  history  makes  upon  the 
imagination,  if  it  is  to  be  fully  appreciated.  It  is  the 
sympathetic  attitude,  the  constructive  imagination,  which 
is  especially  needed  in  this  subject.  To  make  any  his 
torical  scene  of  real  and  vital  interest,  we  must  re-con 
struct  the  events  for  ourselves :  we  must  so  imagine  the 
thoughts  and  the  feelings  of  the  actors  that  they  become 
real  men  and  women  to  us,  and  their  desires  and  striv 
ings  must  become  in  a  very  real  sense  our  own.  How 
can  the  imagination  be  more  effectively  aroused,  or  this 
sympathetic  feeling  better  developed,  than  by  asking  the 
pupil  to  assume  for  a  few  moments  the  character  of  the 
person  about  whom  he  is  studying,  or  to  unite  with 
others  to  make  clear  and  living  some  interesting  and 
important  scene. 

The  elaborate  pageants  which  have  been  acted  both 
in  this  country  and  in  England,  as  well  as  others  which 
are  in  preparation,  show  the  great  interest  in  this  method 
of  teaching.  But  because  of  certain  seeming  difficulties, 


PAGE  ELEVEN 


it  has  not  been  much  used  in  regular  school  work.  It  is 
to  be  noted  that  so  far  as  the  method  applies  to  the 
teaching  of  history,  the  difficulties  are  mostly  on  the 
part  of  the  teacher.  If  the  pupil  is  led  to  think  of  a 
form  of  expression  by  means  of  action  or  tableau  as  just 
as  natural  and  common  in  the  school  life  as  that  of  talk 
ing  or  writing,  he  will  find  it  easy  and  intensely  inter 
esting. 

On  the  part  of  the  teacher  there  must  be,  first,  as  in 
any  effective  teaching  of  history,  an  appreciation  of  a 
dramatic  situation,  and  of  the  things  appropriate  and 
necessary  for  its  reproduction.  It  is  the  teacher  who  is 
to  select  the  events  or  series  of  events  to  be  used  in 
this  way  and  the  special  scenes  in  these  events  which  are 
most  telling.  These  points  should  be  simple,  suited  to 
the  comprehension  of  the  children,  but  representative 
and  dramatic. 

There  is  next  the  difficulty  arising  from  the  lack  of 
a  stage  and  costumes.  In  regard  to  these,  it  is  worth 
while  to  notice  that  simple  tableaux  for  school  work  can 
be  given  in  any  school  room  and  without  the  help  of 
costumes,  or  with  very  simple  changes  in  dress,  or 
arrangements  of  dress.  Then,  at  the  present  time,  a 
teacher  of  history  or  any  teacher  who  has  to  deal  with 
this  subject,  should  try  to  collect  material  which  may  be 
used  for  the  purpose  we  are  considering.  Simple  cos 
tumes  which  may  be  used  to  illustrate  the  dress  of  the 
people  in  different  periods  of  history,  and  articles  which 
may  be  needed  in  tableaux  of  historical  scenes,  are 
among  the  most  important  of  such  historical  material. 


PAGE  TWELVE 


If  the  children  have,  as  part  of  the  school  work,  sewing 
or  manual  training,  they  can  make  many  of  these  things 
for  themselves.  Articles  which  are  most  effective  for 
use  in  these  representations  are  often  very  simple  and 
even  common. 

More  valuable  than  single  representations  are  a  series 
of  connected  tableaux  or  scenes,  arranged  by  the  teacher, 
but  presented  by  the  pupils.  Such  a  series  may  be  pre 
sented  in  the  form  of  a  historical  entertainment  for  the 
parents  and  friends  of  the  pupils.  The  value  of  an 
entertainment  of  this  kind  is,  that  in  this  way  one  may 
picture  for  the  eye  the  growth  of  certain  ideas  or  ten 
dencies  from  which  great  and  important  changes 
have  come.  To  make  the  idea  of  development  clear  in 
the  mind  of  the  pupil  is  the  great  end  and  aim  of  all 
history  teaching,  and  in  this  work  the  eye  is  the  teach 
er's  most  faithful  and  efficient  servant.  Those  who  take 
part  in  the  entertainment,  however,  gain  the  most  from 
it.  They  gain  both  in  the  power  of  expression  and  in 
the  power  of  imagination.  But  the  gain  in  self-control 
is  even  more  valuable.  The  pupils  must  imagine  them 
selves  men  and  women  and  act  with  becoming  dignity. 
They  must,  also,  feel  the  responsibility  of  the  situation 
and  so  learn  to  conduct  themselves  in  a  quiet,  orderly 
and  efficient  manner.  It  appears,  therefore,  that  work 
of  this  kind  helps  directly  to  develop  character. 

In  general,  it  may  be  said  that  only  events  of  his 
torical  importance  and  characters  worthy  of  imitation 
should  be  introduced. 


COLUMBUS  DAY  OBSERVANCE 

Illustrating  Important  Events  in  the  Life  of  Columbus 


This  entertainment  is  simply  an  attempt  to  give  a  few  of 
the  most  dramatic  incidents  in  the  life  of  Columbus  as  con 
nected  with  his  discovery  of  the  New  World.  Fewer  scenes 
were  needed  at  the  time  from  the  fact  that  an  address  upon 
the  life  of  Columbus  was  to  be  given  at  the  close.  Other 
scenes  could  be  readily  added,  although  it  would  require  some 
care  to  avoid  an  anti-climax. 

FIRST  SCENE 

In  Spain  at  the  Council  of  Salamanca 

Before  this  scene  is  presented,  there  should  be  given 
a  brief  explanation  and  description  of  the  early  life  of 
Columbus  and  of  his  attempts  to  obtain  aid. 

Characters:  Churchmen  and  counsellors  at  the  court  of  Spain 
(seven  to  ten)  and  Columbus. 

Costumes:  The  churchmen  are  dressed  in  long  black  garments, 
except  two,  who  have  black  capes  with  white  underneath; 
some  of  the  churchmen  may  wear  or  carry  crucifixes. 
Columbus  wears  a  long  black  garment  or  coat,  which 
plainly  shows  the  poverty  of  its  owner. 

Tableau:    Columbus  before  the  council  at  Salamanca. 

The  characters  are  arranged  somewhat  as  in  a  picture 
of  this  scene  found  in  the  Perry  pictures.  A  picture 
of  the  scene  is  found,  also,  in  Lossing's  History  of  the 
United  States,  Vol.  1.  Only  the  chief  characters  which 
appear  in  these  pictures  are  shown  in  the  tableau.  Three 


PAGE  FOURTEEN 


churchmen  or  counsellors  are  in  the  centre  of  the  tableau 
near  Columbus;  two  at  the  left,  one  pointing  mockingly,  or 
making  fun  of  Columbus;  two  stand  haughtily  in  the  back, 
and  there  may  be,  also,  two  or  three  at  the  right.  Colum 
bus  has  a  partly  open  roll  of  parchment  in  one  hand,  and 
is  pointing  with  the  other,  as  shown  in  the  picture.  One  of 
the  churchmen  in  the  centre  has  an  open  Bible  in  his  hand 
and  another  has  a  book  which  he  is  holding  out  to  Colum 
bus.  It  is  not  necessary  to  reproduce  other  characters 
from  the  picture. 


SECOND  SCENE 
On  Shipboard 


Characters: 


Columbus. 
The  mate. 
Other  sailors. 

Costumes:      Columbus    has    on    a    red    cape;     the    sailors    wear 
sweaters   and    sailor   caps. 

Nearing    land:      Columbus    and    the    Mate. 

The  conversation  in  the  poem  entitled  "Columbus,"  by 
Joaquin  Miller,  takes  place  between  Columbus  and  his 
mate.  The  sailors  are  in  the  background,  one  of  them 
holding  a  lantern.  Between  the  different  parts  of  his  con 
versation  with  Columbus,  the  mate  goes  to  consult  with 
the  sailors.  The  last  stanza  of  the  poem  is  given  by  some 
one  from  the  wings.  When  the  reader  reaches  the  line, 
"A  light!  A  light!"  Columbus  and  the  mate  change  their 
position,  Columbus  points  and  the  mate  raises  his  arm, 
peering  forward.  (Picture  in  Leading  Facts  of  American 
History  by  Montgomery,  revised  edition.  Also  in  Stepping 
Stones  of  American  History.) 


PAGE  FIFTEEN 


FIRST  SIGHT  OF  LAND 

THIRD  SCENE 

In  the  New  World 

Characters: 

Columbus. 
Three   noblemen. 
Eight  sailors. 
Six  Indians. 

Costumes:  Columbus  and  the  noblemen  wear  the  Spanish  cos 
tume  of  the  15th  century,  which  will  be  described  later. 
The  sailors  wear  sweaters  and  sailor  caps,  which  may  be 


PAGE  SIXTEEN 


made  from  blue,  red  or  gray  cambric.  The  Indians  wear 
the  Indian  suits,  which  many  boys  have,  or  which  may 
be  obtained  at  any  clothing  store.  They  carry  bows  and 
arrows  or  tomahawks. 

Spears,  swords,  and  cross:  The  spears  and  swords  for  this  and 
the  following  scene  are  made  from  wood  and  bronzed,  sil 
ver.  The  tall  cross  is  made  from  wood  and  stained  with 
shellac. 

Banner  of  the  expedition:  This  banner  is  white,  with  a  green 
cross.  Over  the  initials  F  and  Y  (Ferdinand  and  Ysa- 
bella)  are  two  gilt  crowns. 

Tableau:     The   landing   of   Columbus. 

The  characters  are  posed  from  Vanderlyn's  painting 
of  the  scene  in  the  capitol  at  Washington.  Reproductions 
of  this  painting  may  be  found  in  many  histories  and  among 
the  Perry  pictures.  Columbus  holds  the  banner  of  the 
expedition  in  one  hand,  and  a  drawn  sword  in  the  other. 
One  of  the  men  has  a  tall  staff  with  the  top  in  the  form 
of  a  cross;  two  others  hold  tall  spears.  The  Indians  are 
peering  out  at  the  white  men  from  the  sides  of  the  stage; 
one  of  them  is  down  upon  the  stage  with  his  head  bowed 
on  his  hands,  worshipping  the  strangers,  the  others  seem 
to  be  full  of  fear  and  curiosity. 


FOURTH  SCENE 
At  Barcelona  in  Spain 

Before  this  scene  is  presented,  a  description  of  the  reception 
of  -Columbus  by  the  king  and  queen  upon  his  return  to 
Spain  is  given.  This  scene  is  more  elaborate  than  any 
other  in  the  entertainment. 

Characters: 

King  and   Queen   of  Spain    (Ferdinand   and   Isabella.) 
Two  guards. 


PAGE  EIGHTEEN 


Two  ladies  of  the  court. 

Eight   monks   or    churchmen. 

Six  Indians. 

Eight   sailors. 

Page   for   Columbus. 

Ten    noblemen. 

Columbus. 

Costumes:  The  queen  has  a  red  robe,  with  a  purple  figured 
front;  collar  and  trimmings  of  ermine.  She  wears  a  crown. 
The  ermine  is  made  of  cotton  with  little  pieces  of  black 
cloth  sewed  upon  it;  the  crown  is  made  of  cardboard  cov 
ered  with  gilt  paper.  The  dress  is  cheese  cloth,  with  a 
front  of  silkoline. 

The  king  wears  purple  full  short  trousers  (trunks). 
They  are  made  somewhat  like  bloomers;  he  also  wears  a 
figured  purple  doublet,  a  purple  cape  and  a  gilt  crown. 
The  trousers  and  cape  are  trimmed  with  ermine. 

The  guards  have  black  trousers  (trunks)  and  red  capes, 
collars  and  knee  pieces  made  from  silver  paper;  they 
wear  storm  hats  covered  with  the  silver  paper,  and  carry 
spears. 

The  ladies-in-waiting  wear  dresses,  fixed  to  resemble 
the  dress  of  the  period.  They  have  high  headpieces,  shaped 
like  cornucopias,  made  from  cardboard,  covered  with  gilt 
paper  and  with  long  veils  draped  over  them;  this  was  one 
style  of  headpiece  worn  in  the  15th  century. 

The  churchmen,  sailors  and  Indians  are  dressed  the 
same  as  in  previous  scenes.  The  little  crosses  which  the 
churchmen  or  monks  carry,  may  be  made  from  cardboard 
covered  with  the  silver  paper. 

The  little  page  of  Columbus  is  dressed  in  his  own 
white  suit. 

Columbus  wears  gray  and  red  clothing.  The  noble 
men  wear  combinations  of  bright  colors. 


PAGE  NINETEEN 


The  general  plan  which  was  followed  in  regard  to  the 
dress  of  the  'Spanish  nobility  in  the  time  of  Columbus  was 
to  have  the  full  short  trousers  (trunks)  made  of  one  color 
and  slashed  with  another;  the  upper  garment  or  doublet 
made  of  figured  silkoline;  the  cape  of  one  color  lined 
with  another,  worn  turned  back  over  one  shoulder;  pointed 
collars  and  cuffs  of  white  glazed  or  silver  paper;  and  soft 
felt  hats  with  plumes.  Each  nobleman  carried  a  sword. 

The  gold  brought  by  the  sailors  may  be  made  by  gild 
ing  stones. 
Reception   of  Columbus  by  the  King  and   Queen. 

Rugs  cover  the  front  and  sides  of  the  stage;  in  the  center  of 
the  stage  is  a  raised  platform  or  throne,  with  two  or  three 
steps  leading  up  to  it;  this  throne  is  covered  with  figured 
raw  silk  (yellow  and  brown).  Chairs  are  placed  on  the 
throne  for  the  king  and  queen. 

The  scene  is  an  attempt  to  represent  the  Reception  of 
Columbus  on  His  Return  to  Spain  after  his  first  voyage. 
(See  painting  by  Ricardo  Balaca,  the  Spanish  artist,  of 
Columbus  before  Ferdinand  and  Isabella  at  Barcelona).  A 
march  is  played  upon  the  piano  while  the  different  char 
acters  in  the  tableau  come  on  the  stage  and  take  their 
proper  positions.  First  the  two  royal  guards  march  to  the 
throne,  taking  positions  one  on  each  side,  so  that  the  king 
and  queen  may  pass  between  them  in  mounting  the  plat 
form.  They  are  followed  by  the  king  and  queen,  and  then 
by  the  ladies-in-waiting.  The  king  and  queen  mount  the 
platform  and  take  seats;  the  ladies  wait  in  front  of  the 
platform  until  the  king  and  queen  are  seated,  then  they 
take  positions  one  on  each  side  of  the  throne.  The  guards, 
after  the  king  and  queen  are  seated,  take  position  on  the 
platform  in  the  rear.  All  these  come  as  one  group  in  the 
procession,  with  only  a  little  space  between  them. 

Next  come  the  churchmen,  with  heads  bowed  and 
looking  at  silver  crosses  which  they  hold  in  front  of  them. 
One  of  them  carries  the  tall  cross.  They  take  their  places 
at  the  right  of  the  queen. 


PAGE  TWENTY 


The  Indians  come,  shuffling  across  the  stage  to  the 
extreme  left  of  the  king  and  queen.  Of  course  they  know 
nothing  of  keeping  time  to  music  or  paying  homage  to 
royalty. 

The  sailors  march  upon  the  stage,  each  bringing  some 
thing  from  the  new  world,  gold,  a  stuffed  bird,  or  some 
product.  Each  in  turn  approaches  the  king  and  queen, 
kneels,  then  places  whatever  he  carries  at  the  side  of  the 
platform,  and  takes  his  place  on  the  left. 

The  noblemen,  one  by  one,  come  with  great  dignity 
to  the  front  of  the  throne,  kneel,  and  salute  with  their 
swords.  Then  they  go  to  the  right  of  the  stage. 

Finally,  the  music  sounds  a  more  triumphal  note, 
announcing  the  approach  of  the  hero  of  the  occasion. 
Columbus  is  preceded  by  his  page,  carrying  the  banner  of 
the  expedition.  The  page  kneels  to  the  king  and  queen, 
then  goes  to  the  left,  where  he  is  to  stand  just  back  of 
the  place  reserved  for  Columbus. 

As  Columbus  approaches  the  throne,  the  king  and 
queen  rise  and  come  forward  to  do  him  honor.  Columbus 
kneels,  kisses  the  queen's  hand,  then  rises  and  points  out 
to  the  king  and  queen  the  treasures  which  his  sailors  have 
brought.  He  also  brings  forward  one  of  the  Indians. 
The  king  and  queen  regard  everything  with  interest.  After 
this,  at  a  signal  given  on  the  piano,  all  kneel  to  give  thanks 
for  the  discovery  of  the  new  world.  The  Te  Deum  Lauda- 
mus  is  chanted  or  the  doxology  is  sung.  This  is  the  end 
of  the  reception. 

This  scene  may  be  simplified,  if  desired,  and  given  in 
the  form  of  two  tableaux.  Columbus  kneeling  before  the 
queen;  and  Columbus  telling  his  story  may  be  given  sep 
arately.  There  need  not  be  as  many  characters  in  the 
scene.  See  the  picture  "Reception  of  Columbus,"  (Adapt 
ed  from  the  picture  by  Ricardo  Balaca)  in  America's 
Story  for  America's  Children,  by  Mara  L.  Pratt. 


PAGE  TWENTY-TWO 


It  would  be  easy  to  give  the  substance  of  this  enter 
tainment  in  any  school  room  and  without  costumes.  Even 
with  these  limitations  the  story  of  Columbus  would  become 
more  real  to  the  children,  in  this  way,  than  it  could  be 
made  by  any  description. 

A  good  description  of  the  reception  of  Columbus  in 
Spain  after  his  first  voyage  is  given  in  The  Life  of  Colum 
bus,  by  Washington  Irving. 

A  description  and  picture  of  the  banner  of  the  expedi 
tion    may    be    found    in    Lossing's    History    of    the    United 
States,  -Vol.    1. 
Music  that  may  be  used: 

Columbus   song,    taken   from   "1492." 
The   "New   Hail   Columbia." 


HISTORICAL   PAGEANT 

Yuletide  in  Merrie  England  in  the  Sixteenth  Century 

Perhaps  some  reference  to  the  Christmas  customs  in 
Old  England  should  be  given  as  an  introduction.  What  is 
printed  here  can  be  used  as  a  suggestion.  What  is  needed 
will,  of  course,  vary  with  the  fullness  of  the  description 
in  the  program. 

There  is  a  peculiar  charm  in  these  old  customs,  espe 
cially  when,  as  in  this  case,  they  relate  to  a  festival  which 
still  lives.  One  reason,  no  doubt,  is  that  we  have  in  these 
earlier  times  more  of  the  unconscious  spirit  of  childhood. 
Our  delight  in  studying  the  Christmas  customs  of  Old 
England  is  further  increased  because  of  our  close  connec 
tion  with  that  country,  and  because  many  of  these  same 
customs  prevailed  at  the  South  before  the  Civil  War. 
There  is  in  these  customs,  also,  a  strong  hint  of  that  lack 
of  hurry  which  is  so  marked  a  trait  of  the  English  tem 
perament.  There  was  evidently  no  will  to  absorb  the  de 
lights  of  Christmas  in  an  hour  as  there  is  with  us.  In  the 
reign  of  Queen  Elizabeth  we  find  that  Christmas  was 
celebrated  with  much  greater  splendor  and  magnificence 
than  at  present.  The  festivities  began  at  Advent  and 
lasted  till  Twelfth  Night  or  even  longer.  There  was  leisure 
to  make  the  most  of  the  joy.  Thinking  of  these  old  times 
we  say  to  you: 

"Once   more   the   rapid    fleeting  year 

Has  brought  old   Christmas  to   the   door; 
Come,    let  us  treat  him   with  such  cheer, 
As  folks  were  wont  in  days  of  yore." 


PAGE  TWENTY-FOUR 


There  was  in  these  old  Christinas  customs  a  pervading 
spirit  of  song  and  good  will;  a  becoming  deference  for 
place  and  power;  a  hint  of  the  bowl  and  of  the  feast. 
The  manor  houses  of  the  sixteenth  century  were  rude,  as 
measured  by  our  standards,  but  magnificent  for  the  time. 
The  spirit,  however,  was  the  chief  thing. 

On  Christmas  eve,  in  England  in  the  olden  time, 
you  would  see  a  great  log  burning  in  the  fireplace. 
You  might  have  gone  out  into  the  woods  and  helped  to 
bring  in  this  log,  which  was  called  the  Yule  log.  The  log 
must  burn  all  night,  for  if  it  went  out  it  was  considered  a 
sign  of  ill  luck.  A  brand  from  the  Yule  log  must  be 
carefully  saved  and  put  away  to  light  the  next  year's 
Christmas  fire.  Sometimes  there  were  lighted  candles  in 
the  hall,  but  often  the  only  light  came  from  the  great  fire 
in  the  fireplace,  as  the  Christmas  songs  were  sung  and  the 
Christmas  stories  told. 

In  the  early  morning  the  Christmas  Waits,  as  they 
were  called,  started  out  to  sing  from  door  to  door  Christ 
mas  hymns,  carols  of  the  holly  and  the  mistletoe,  and 
receive  pence  in  return.  The  bringing  in  of  the  Wassail 
bowl  and  presenting  it  to  the  lord  and  lady  of  the  manor, 
and  the  participation  of  all,  even  to  the  queen  herself, 
gives  a  hint  not  only  of  the  reverence  felt  for  power  and 
station,  but  as  well  of  the  universal  character  of  the  cele 
bration.  In  the  bringing  in  of  the  "boar's  head"  we  have 
a  vivid  picture  of  the  rude  abundance  of  the  time;  while  in 
the  procession  of  the  Lord  of  Misrule  there  is  the  love 
of  imitation  and  all  the  abandon  of  childhood.  If  a  fuller 
description  is  desired,  it  can  be  found  in  Irving's  Sketch 
Book. 

The  Scene :  A  Hall  in  an  Old  English  Manor  House 

A  very  large  fireplace  is  seen  at  the  back  of  the  hall. 
The  English  coat  of  arms,  cut  from  gilt  paper  and  placed 
upon  a  background  of  white  cloth,  is  over  the  fireplace. 


I  m  m 

/ 


QUEEN  ELIZABETH'S  HERALD 


PAGE  TWENTY-SIX 


A  raised  platform  or  dais,  a  few  fur  rugs  and  one  or  t\vo 
chairs  form  the  chief  articles  of  furniture  in  the  hall.  In 
addition  there  should  be  lighted  candles  in  old  brass  can 
dlesticks  on  the  top  of  the  fireplace,  and,  also,  old  plates 
and  dishes.  Holly  and  other  green  may  be  used  for  dec 
oration.  Other  appropriate  articles  for  this  scene  are 
swords,  spears  and  helmets;  also  rugs  on  the  walls  to  rep 
resent  tapestry. 

There  should  not  be  too  much  green  used  for  decora 
tion,  or  too  much  furniture  in  the  room,  because  an  old 
English  manor  house  was  large  and  barely  furnished  com 
pared  with  houses  to-day;  also  because  a  large  part  of  the 
stage  is  needed  for  the  entertainment. 

Characters 

A   messenger   from    Queen    Elizabeth. 

Queen   Elizabeth  and   Sir  Walter  Raleigh. 

The  Lord  and  Lady  of  the  manor  house. 

Nine  girls  representing  English  girls  of  the  period  of 
Queen  Elizabeth. 

Fifteen   Christmas   Waits. 

Four   yeomen   to    bring   in   the   Yule    log. 

Two   candle   boys. 

A  steward   and    three   serving   men. 

Page   for   Queen   Elizabeth. 

Lord    of    Misrule. 

Page    for    the   Lord    of   Misrule. 

Twenty  followers  in  the  procession  of  the  Lord  of 
Misrule.  The  following  characters  may  be  represented: 
Bear,  girl  or  boy  beating  a  drum,  pig,  astrologer,  court 
fool,  fairies,  giant,  horse,  half  animal  and  half  man. 
Egyptian  girl  rescued  from  the  dragon  by  St.  George, 
dragon,  St.  George,  clown,  Robin  Hood  and  one  of  his 
followers,  abbot,  goblin,  rooster,  and  rabbit 


PAGE  TWENTY-EIGHT 

Costumes 

The  general  style  for  the  costumes  is,  of  course,  that 
of  the  period  of  Queen  Elizabeth. 

Queen  Elizabeth,  Sir  Walter  Raleigh,  the  Lord  and 
Lady  of  the  Manor  House,  and  the  candle  boys,  wear 
court  suits. 

The  yeomen  and  the  serving  men  wear  the  dress  of 
the  lower  classes  in  the  16th  century. 

The  nine  girls  representing  English  girls  wear  dresses 
made  of  Christmas  crepe  paper,  in  the  style  of  the 
period  represented. 

The  horns  used  in  one  scene  are  made  of  cardboard, 
covered  with  silver  paper.  The  poinsettias  and  silver 
headpieces  are  easily  made  of  red  and  green  paper,  and 
of  cardboard  covered  with  silver  paper. 

The  Lord  of  Misrule  wears  the  costume  described  in 
an  article  by  E.  S.  Brooks.  The  followers  are,  of  course, 
made  up  to  represent  the  characters  which  they  assume; 
some  of  them  are  supposed  to  be  burlesque  representa 
tions,  as  they  were  in  the  olden  times  in  England,  while 
others,  as  the  dragon,  knight,  court  fool,  etc.,  are  dressed 
to  represent  the  real  characters  as  nearly  as  possible. 

Program,  or  Scenes  Represented 

1.  A  messenger,  dressed  in  Old  English  costume,  appears,  an 
nouncing  the  coming  of  Queen  Elizabeth  and  her  attendants. 
The  costume  is  purple,  arranged  like  that  of  a  herald 
of  the  Middle  Ages.  See  "Military  and  Religious  Life  of 
the  Middle  Ages,"  by  Lacroix. 

This  form  of  announcement  may  be  used: 

I,  Lord  ,   (any  name  desired  may  be  used  here) 

royal   messenger,   announce   to   you,   ,    (the   name   of 

the  principal  or  some  one   connected  with  the  school  may 


PAGE  TWENTY-NINE 


be  given  here),  Feodary  of  the  Wards  in  ,   (the  name 

of  the  school  or  part  of  it  may  be  given  here):  That  her 
most  gracious  majesty,  Elizabeth,  by  the  grace  of  God 
Queen  of  England  and  Ireland,  being  on  a  royal  progress 

from  London  to  the  castle  of  Lord  ,  in  ,   (local 

names  may  be  used  here,  though  they  should  be  changed 
to  resemble  English  names  as  much  as  possible),  proposes 

to    spend   a   part   of  Christmas   day   at   your  (name 

of  the  school)   Manor. 

By   order   of  the  Royal    (some   English   officer.) 
December   15,   in  the  year   of  our  Lord,    1565. 

GOD    SAVE    THE    QUEEN. 
Music:    Carol,   "We  Three  Kings,"   Chorus  Old   English 

2.  The    holly   and    the   mistletoe. 

An  exercise  and  recitation  by  nine  girls,  dressed  in 
English  costumes,  to  illustrate  a  poem  by  Barry  Cornwall, 
entitled  "The  Holly  and  Mistletoe." 

The  girls  carry  a  laurel  chain  and  have  branches  of 
holly  and  mistletoe.  They  dance  upon  the  stage  and  kneel 
in  a  half  circle  by  the  fireplace,  where  one  gives  most  of 
the  first  stanza  of  the  poem,  the  last  part  being  given  by 
all  together;  then  they  rise,  throw  down  by  the  fireplace 
their  laurel  chain,  come  to  the  front  of  the  stage,  and  the 
second  stanza  is  given  in  the  same  way  as  the  first.  The 
holly  is  displayed  prominently  when  the  last  of  the  stanza 
is  given.  For  the  third  stanza  the  girls  pair  off,  except 
the  one  who  stands  in  the  centre,  and  she  gives  the  main 
part  of  the  poem.  At  the  end  they  hold  the  branches  of 
mistletoe  above  their  heads. 

3.  Bringing  in   the   Yule  Log. 

This  is  a  tableau.  It  represents  four  boys,  dressed  in 
old-time  English  costumes  (red  and  green);  a  great  log  with 


PAGE  THIRTY 


ropes  attached  to  it,  and  the  boys  in  the  position  of  drag 
ging  the  log  in  to  the  fire;  back  of  the  boys  stand  nine 
English  girls,  blowing  long  silver  horns.  During  the  tab 
leau  a  chorus  renders  the  Old  English  Carol  for  the 
Yule  Log: 

"Come  bring  with  a  noise, 

My   merry,    merry   boys, 

The  Christmas  log  to  the  firing,"  etc. 

Music:    "Cherry  Tree  Carol,"  Old  English 

4.  Christmas   Waits. 

Fifteen  girls,  wearing  over  their  white  dresses  long 
green  or  white  surplices  of  crepe  paper,  their  hair  loose, 
and  with  red  poinsettias  or  silver  bands  and  stars  upon 
their  heads,  march  into  the  hall  and  upon  the  stage,  sing 
ing  as  they  come  and  after  they  reach  the  stage,  "God 
Rest  Ye,  Merrie  Gentlemen"  and  "The  Holly  and  Ivy." 

5.  The    Wassail    Bowl. 

The  lord  and  lady  of  the  manor  house  are  seated  on 
a  dais.  The  nine  English  girls  come  skipping  into  the 
hall,  bearing  a  large,  old-fashioned  Wassail  Bowl  and  sing 
ing  an  old  English  Wassail  Song.  The  first  stanza  of  the 
song  may  be  given  just  before  the  girls  come  upon  the 
stage;  the  next  as  they  come  skipping  up  to  the  dais,  and 
standing  by  the  dais  they  sing  one  or  two  stanzas  more. 
When  the  girls  stop  singing,  the  lord  of  the  manor  takes 
the  Wassail  Bowl,  wishes  all  a  "Merrie  Christmas,"  and 
drinks  from  it,  according  to  the  old  English  custom;  then 
the  lady  of  the  manor  does  the  same.  After  this  the  song 
is  completed^ 

6.  Arrival   of   Queen    Elizabeth   and   Sir   Walter   Raleigh   at  the 

manor  house. 

Some  one   from   the   wings   blows  three   blasts   upon   a 


PAGE  THIRTY -TWO 


horn     and     announces     "The     queen     is     approaching     the 
manor  house." 

Sir  Walter  Raleigh  crosses  the  stage,  stands  by  the 
dais,  and  the  queen  follows,  a  page  bearing  her  train.  The 
queen  seats  herself  upon  the  dais,  the  page  standing  beside 
her,  and  Sir  Walter  Raleigh  is  seated  just  below.  They 
remain  to  witness  the  concluding  part  of  the  Christmas 
celebration. 

"God  Save  the  Queen"  is  sung  from  the  wings  as  the 
queen  enters. 

Music:    "Good   King  Wenceslaus,"  Old   English 

7.    Bringing   in   the   Boar's   Head. 

This  is  a  tableau.  There  are  four  boys,  dressed  in  old 
style  red  and  green  suits,  seen  bringing  in  the  chief  articles 
of  the  Christmas  feast.  The  first  boy,  representing  the 
English  steward,  bears  the  boar's  head,  decorated  with 
holly;  the  other  boys  carry  a  plum  pudding,  mince  pie  and 
cake  (all  very  large).  Two  boys  in  front  bear  the  Christ 
mas  candles,  decorated  with  holly.  There  should  be  a 
t.ilile,  decorated  with  candles,  holly,  etc.,  placed  in  front 
of  the  dais  for  this  scene. 

During  this  tableau,  one  of  the  oldest  existing  English 
carols,  "The  Boar's  Head  Carol,"  is  sung  by  a  chorus: 
"The  boar's  head  in  hand  bring  I,"  etc. 

Music:      Carol,   "The  First  Nowell,"  Old   English 

S.    Arrival  of  the  herald  or  page  of  the  Lord   of  Misrule. 

The  herald  announces  the  authority  of  the  Lord  of 
Misrule  in  the  following  form: 

To  -  (name  of  some  important  person  connected 

with  the  school),  Feodary  of  the  Wards  in  -  -  (local 

name),  at  (name  of  school)  Manor. 


PAGE  THIRTY-FOUR 


Imprimis:    I   give  leave   to   Lord  -    (name    of   the 

person  who  is  to  assume  this  character)  to  be  Lord  of 
Misrule,  at  the  Manor  o-f  -  -  (name  of  school),  during 

the  twelve  days  of  Yule-tide.  And>  also,  I  give  free  leave 
to  the  said  Lord  -  -  (name  of  Lord  of  Misrule)  to 

command  every  person  whatsoever,  as  well  servants  a.4 
others,  to  be  at  his  command  whensoever  he  shall  soune 
his  music,  and  to  do  him  good  service,  as  though  I  were 
present  myself,  at  their  perils.  I  give  full  power  to  his 
lordship  to  break  all  locks,  doors  and  lat-hes  to  come  to 
all  those  who  presume  to  disobey  his  lordship's  commands. 

GOD  SAVE  THE   QUEEN. 

— ,    Lord    Protector. 

(Signed    by    some    one    connected    with    the    institution 
giving   the   entertainment.) 

This  form  of  announcement  is  adapted  from  an  article 
in   the  St.  Nicholas,   January,    1885,   by  E.   S.    Brooks. 

9.     Procession   of   the    Lord    of   Misrule   and    his   train. 

The  page  comes  first,  then  the  Lord  of  Misrule  with 
his  staff  surmounted  by  a  fool's  head,  then  his  followers. 
They  march  round  and  round  the  stage,  acting  out  as  well 
;is  possible  the  characters  they  are  supposed  to  represent, 
making  various  noises,  and  all  who  can,  sing  the  following 
.  doggerel: 

"Like    prince   and    king    he    leads   the    ring; 
Right   merrily   we   go.      Sing    hey-trix,    trim-go-trix, 
Under  the  mistletoe!" 

"To  shorten   winter's  sadness  see   where   the   folk   with 

gladness, 

Disguised,  are  all  a-coming,  right  wantonly  a-mumming, 
Fa-la!" 


PAGE  THIRTY-SIX 


This  song  may  be  set  to  some  simple  music,  changed 
a  little  if  desired,  and  repeated  again  and  again  as  the 
procession  marches  around  the  stage. 

After  the  procession  has  marched  around  the  stage 
once  or  twice,  the  Lord  of  Misrule  waves  his  staff;  every 
one  is  quiet,  and  he  gives  the  following  announcement: 

"From  Christmas  Eve  to  Twelfth  Night  I  am  Lord 
Supreme;  by  my  magic  art  I  transform  you  all  into  chil 
dren,  and  charge  you,  on  your  fealty,  to  act  only  as  such. 
I  absolve  you  all  from  wisdom.  I  bid  you  be  just  wise 
enough  to  make  fools  of  yourselves,  and  do  decree  that 
none  shall  sit  apart  in  pride  and  eke  in  self-sufficiency 
to  laugh  at  others." — (Adapted  from  the  article  by  E.  S. 
Brooks.) 

Following  this  announcement,  the  procession  marches 
round  and  round  the  stage,  singing,  making  various 
noises  in  keeping  with  the  part  assumed,  and  all  entering, 
as  much  as  possible,  into  the  spirit  of  the  occasion. 


The  scenes  above  described,  or  the  parts  of  the  Christmas 
festival  to  be  presented,  were  selected  as  typical  of  the  most 
important  elements  in  the  celebration  of  Yuletide  in  the  Eng 
land  of  the  sixteenth  century.  The  simplicity,  the  joyousness 
of  many  of  these  old  customs,  is  well  worth  preserving,  aside 
from  their  historical  interest  and  value.  Remember,  as  stated 
above,  these  old  English  customs  are  a  part  of  our  own 
family  history  and  for  that  reason  of  particular  interest  to  us. 


REFERENCES 

The  Sketch  Book,  by  Washington  Irving.  (Description  of 
Christmas  Customs  in  England.) 

The  Popular  History  of  England,  (Illustrated  edition),  by 
Charles  Knight.  Vol.  III. 


PAGE  THIRTY-SEVEN 


Christmas  Carols  and  Customs,  by  H.  E.  Krehbiel.  Pub 
lished  in  the  Outlook,  Nov.  27,  1909. 

English  Christmas  and  Scottish  New  Year,  by  M.  E.  Leices 
ter  Addis. 

Davy  and  the  Goblin,  by  Charles  Carryl.  (St.  Nicholas,  be 
ginning  December,  1884.)  (Suggestions  may  be  obtained  from 
the  illustrations.) 

The  King's  Feast  in  Rufus's  Hall,  by  Rev.  Henry  Augustus 
Adams.  (Published  in  the  St.  Nicholas,  December,  1884.) 

St.    Nicholas,    December,    1883.      (Illustrations). 

Historic  Girls — Elizabeth  of  Tudor,  by  E.  S.  Brooks.  (Pub 
lished  in  the  St.  Nicholas,  January,  1885.)  (Description  of 
English  customs  in  regard  to  the  Lord  of  Misrule.) 

Christmas   in   the   Olden   Time,    by  Sir  Walter   Scott. 


HISTORICAL   PAGEANT 

To  Illustrate  the  Contest  between  Slavery  and  Freedom 
in  the  United  States,  between  1830  and  1865 


This  pageant  or  entertainment  is  divided  into  three  parts. 
The  first  part  is  intended  to  show  something  of  the  conditions 
of  slave  labor  in  the  South;  of  free  labor  in  the  North,  and 
suggests  a  natural  antagonism;  the  anti-sla-very  leaders  are  used 
to  indicate  the  beginnings  of  the  actual  contest. 

The  second  part  is  occupied  in  showing  some  of  the  more 
important  attempts  made  by  American  statesmen  and  the 
courts  to  settle  the  slavery  question.  The  third  part  shows  the 
outcome  of  the  contest  by  the  election  of  President  Lincoln, 
the  emancipation  of  the  slaves,  the  coming  of  peace,  and  the 
restoration  of  the  Union  after  the  Civil  War. 

SCENES  AND  SCENERY 

In  a  reproduction  of  this  nature  there  must  be,  of 
course,  much  change  of  scene.  But  with  proper  care  the 
stage  may  be  easily  and  cheaply  arranged  so  as  to  suggest 


PAGE  FORTY 


these  changes.  Care  should  be  taken,  however,  to  plan 
only  such  changes  as  can  be  made  quickly,  or  the  time 
between  the  scenes  will  be  too  long.  Screens  and  curtains 
can  be  used  to  good  advantage,  as  in  this  way  a  part  or 
the  whole  of  the  stage  can  be  used  as  the  particular  scene 
requires.  A  raised  platform  with  steps,  made  from  planks 
or  heavy  boards,  will  be  found  desirable.  This  may  be 
covered  with  green  cambric.  Dark  cambric  is  needed  so 
that  the  platform  can  be  used  for  outdoor  scenes.  When 
it  would  not  be  appropriate  to  have  the  platform  show, 
it  can  be  cut  off  by  the  screens. 

For  the  house  scenes,  the  screens  can  be  used  so  that 
a  part  of  the  stage  suggests  a  room;  rugs  and  simple 
furniture  can  be  readily  moved  on  and  off  the  stage  as 
required.  Other  articles  needed  for  the  different  scenes 
should  be  kept  as  handy  as  may  be.  What  these  are  will 
appear  in  the  general  description. 

CHARACTERS 

Nearly  a  hundred  different  persons  took  part  in  this 
pageant  and  some  in  two  or  more  scenes. 

The   following  are   the   chief   characters: 

Eight  Negro  slaves.  (Used  in  the  first  two  scenes  and 
two  of  them,  also,  in  later  scenes.) 

A   plantation   overseer. 

Nine  free  laborers. 

Horace   Greeley  and    eight   other   anti-slavery   leaders. 

Apollo  and   the  muses  of  poetry. 

Eva,  Topsy  and  Miss  Ophelia. 

Nine  bishops. 

Eight  noblemen  of  the  Middle  Ages. 

Five  yeomen  of  the  Middle  Ages. 

Speaker,  secretary  and  sixteen  members  of  the  Hou.se 
of  Representatives. 

Tom  Gordon  and  his  slave  Jim. 

Senator  and  his  wife.  Eliza.  From  Uncle  Tom's 
Cabin. 


PAGE  FORTY-ONE 


Two   slave   hunters. 

Three   rescuers    of   a   fugitive   slave. 

Five  Kansas  emigrants. 

Nine  justices   of  the  Supreme   Court. 

Abraham  Lincoln.   (If  the  inauguration  scene  is  given.) 

Goddess   of  Liberty. 

A  blue  and  a  gray  soldier   boy. 

Angel   of   Peace. 

Besides  these,  three  or  four  readers,  or  persons  to 
give  quotations  or  explanations  of  different  scenes  are 
needed. 


PART  I 

Antagonism  Between  Slavery  and  Freedom 

I.    Scenes  in  the  South.      (Slavery.) 

The  first  scenes  suggest  slave  conditions  in  the  South 
before  the  war.  Appropriate  music  is  rendered:  "The  Old 
Folks  at  Home"  and  "My  Old  Kentucky  Home,"  or  other 
Negro  songs  may  be  used. 

The  tableaux  are:  "In  a  Negro  Cabin  on  the  Old  Plan 
tation"  and  "The  Return  from  the  Cotton  Field."  (Repre 
senting  slave  labor.) 

A  part  of  the  stage  is  enclosed  by  means  of  screens 
for  the  negro  cabin.  The  negro  family  consists  of  the 
man,  his  wife  and  two  little  children.  Low  stools  are  used 
for  seats,  and  the  negro  is  playing  on  a  banjo. 

Six  negroes,  three  boys  and  three  girls,  and  the  over 
seer,  take  part  in  the  "Return  from  the  Cotton  Field."  The 
overseer  is  standing  on  the  platform,  which  is  placed  side 
ways  upon  the  right  or  left  of  the  stage;  he  holds  a  whip; 
scales  for  weighing  the  cotton  should  be  upon  the  plat 
form.  The  negro  laborers  are  bringing  in  great  baskets 
of  cotton  to  the  overseer.  Waste  baskets  with  the  tops 
covered  with  cotton  are  used.  The  overseer  is  dressed  as 


PAGE  FORTY-THREE 


was  usual  in  the  South  and  has  on  a  broad  brimmed  straw 
hut.  The  negro  men  or  boys  are  dressed  in  overalls,  and 
the  women  or  girls  in  unbleached  cheese  cloth  with  red 
bandanna  handkerchiefs  on  their  heads  and  round  their 
necks. 


II.     Scene   in   the  North.      (Free   labor,    etc.) 

To  suggest  the  beginnings  of  the  contest  between  the 
two  systems  use  a  procession  of  free  laborers  and  a  pro 
cession  of  the  leaders  of  the  anti-slavery  movement.  The 
free  laborers  are  dressed  in  working  clothes  and  carry 
different  kinds  of  tools;  the  leader  has  a  banner  inscribed 


PAGE  FORTY-FOUR 


"Free  Labor."  The  leader  of  the  anti-slavery  men  is 
Horace  Greeley.  He  wears  the  familiar  long  gray  coat,  or 
duster,  a  high,  old-fashioned  gray  hat,  and  carries  a  ban 
ner  having  upon  it  the  words  "Liberty  for  All."  The  other 
members  of  this  procession  wear  white  blouses  and  white 
caps;  they  have  bands  over  their  shoulders  with  the  names 
of  prominent  anti-slavery  leaders  inscribed  upon  them. 
These  two  processions  enter  the  hall  at  the  rear  and  march 
to  the  stage.  When  arranged,  one  at  the  right  and  the 


PAGE  FORTY-FIVE 


other  on  the  left,  the  anti-slavery  leader  steps  to  the  front 
and  gives  this  quotation: 

"Sound   for  the   onset,    blast  on   blast! 
Till   slavery's   minions   cower   and   quail; 
One  charge  of  fire  shall  drive  them  fast, 
Like    chaff    before    our   Northern    gale!" 

Then  the  leader  of  the  laborers  takes  his  place  and 
gives  the  following: 

"Freedom,   hand   in   hand   with  labor, 
Walketh   strong   and    brave, 
On    the    forehead    of    his    neighbor 
No   man    writeth    'Slave'!" 

After  these  quotations  the  processions  march  from 
the  hall  as  they  entered. 

III.    The   influence  of  poetry,   song  and   story  in   the   overthrow 
of  slavery. 

A  tableau,  "Apollo  and  the  Muses  of  Poetry,"  is  used 
to  represent  the  influence  of  both  poetry  and  song  against 
slavery.  Apollo  wears  a  Greek  costume  of  white,  trimmed 
with  green,  and  carries  a  green  lyre.  The  muses  wear 
Greek  costumes,  white  with  gold  borders.  Apollo  stands 
in  the  centre  of  the  group,  just  a  little  in  front  of 
the  muses. 

The  influence  of  story  is  shown  by  one  or  more  scenes 
or  tableaux  from  Uncle  Tom's  Cabin. 

A  tableau  showing  Eva,  Topsy  and  Miss  Ophelia  in 
the  scene  where  Eva  comes  into  Miss  Ophelia's  room, 
wearing  the  necklace  which  Topsy  has  just  'fessed  that 
she  has  stolen,  may  be  used.  Eva  is  showing  her  aunt 
the  necklace  and  Miss  Ophelia  is  looking  sternly  at  Topsy. 
Eva  is  dressed  in  white;  Miss  Ophelia  wears  an  old-fash 
ioned,  full  skirt  and  kerchief,  and  has  her  hair  arranged 


PAGE  FORTY-SIX 


according    to    the    fashion    of    that    period.     Topsy's    dress 
should    be  as  grotesque  as  it  can   be  made. 

Another  scene  from  Uncle  Tom's  Cabin  that  may  be 
given  is  that  of  George  Shelby  at  the  grave  of  Uncle  Tom. 
Pillows  may  be  placed  on  the  stage  and  covered  with  an 
overcoat  to  represent  the  grave.  George  Shelby  is  kneel 
ing  by  the  grave  with  his  arm  raised  toward  heaven.  He 
gives  this  vow:  "Witness,  Eternal  God,  Oh,  witness  that, 
from  this  hour  I  will  do  what  one  man  can  to  drive  out 
this  curse  of  slavery  from  my  land!" 


THE  MUSES 


Anti-slavery  poems  and  their  influence  are  represented 
by  a  presentation  of  Whittier's  poem,  entitled,  "The  Curse 
of  the  Charterbreakers."  The  first  three  verses  of  the 


*>AGE  FORTY-SEVEN 


poem  are  read  by  some  one  in  Greek  costume,  represent 
ing  Poetry;  then  the  reader  steps  back,  the  curtain  is 
raised  and  shows  a  tableau  representing  a  scene  in  West 
minster  Abbey  in  the  13th  century. 

In  the  tableau  in  Westminster  Abbey  are  nine  bishops, 
eight  noblemen  and  five  yeomen  of  the  Middle  Ages.  One 
of  the  bishops  stands  upon  the  platform  in  the  centre;  on 
either  side  are  grouped  first  the  other  bishops,  then  the 
yeomen  and  noblemen;  the  bishop  upon  the  platform  gives 
the  curse  against  the  charterbreakers,  as  in  the  poem,  be 
ginning:  "Right  of  voice  in  framing  laws,"  and  ending 
"Make  our  word  and  witness  sure,  Let  the  curse  we 
speak  endure!" 

After  the  giving  of  the  curse  by  the  bishop,  the  others 
taking  part  in  the  tableau  say  "Amen." 

After  this  the  curtain  is  lowered,  the  reader  steps 
forward  and  completes  the  poem. 

The  reader  has  the  poem  upon  heavy  brown  paper,  in 
a  form  to  represent  a  Greek  parchment  roll. 

The  bishops  wear  long  black  gowns  and  mitres  of 
black  or  silver  paper;  the  principal  bishop  has  a  stole 
and  a  mitre  covered  with  gilt  paper.  The  yeomen 
are  dressed  in  plain  gray  gowns;  the  noblemen 
wear  long  decorated  gowns  of  bright  colors;  the  colors 
were  yellow,  decorated  with  light  purple,  red  decorated 
with  black,  blue  and  green  both  decorated  with  silver 
paper.  The  designs  for  decoration  may  be  stenciled,  or 
cut  out  of  paper  and  sewed  or  pasted  upon  the  garments. 
Any  design  used  in  the  Middle  Ages  may  be  taken;  for 
some  of  the  garments,  lions  cut  from  silver  paper  were 
used. 

Beside  the  platform  or  raised  place  in  the  centre 
background  of  the  stage,  there  should  be  high  cabinets 
with  lighted  candles  upon  them.  The  English  coat-of-arms 
may  be  placed  on  the  wall  back  of  the  raised  platform. 

Music:     Between   the   parts   of   the   entertainment,   an    orchestra 


PAGE  FORTY-EIGHT* 


plays  or  some  other  music  is  provided.     Beside   this,   other 
patriotic  or  appropriate  songs   are   given. 


THE  BISHOP  AND  NOBLEMEN 


PART  II 

Attempts  of  American  Statesmen  and  the  Courts  to 
Settle  the  Slavery  Question 

I.    Anti-slavery    petitions    in    Congress;     Passage    of    the    "Gag 
Resolution"    by   the    House   of    Representatives. 

The  scene  presented  here  is  a  session  of  the  United 
States  House  of  Representatives.  A  platform  in  the  centre 
of  the  stage;  a  chair  and  table  upon  the  platform  for  the 
Speaker  of  the  House,  and  the  Speaker's  gavel  must  be 
provided.  The  chairs  for  the  members  of  the  House  are 


PAGE  FORTY-NINE 


arranged  in  a  semi-circle  on  both  sides  of  the  platform. 
The  members  of  the  House  are  seated  or  standing  around 
in  disorder  when  the  curtain  rises.  The  Speaker  of  the 
House  comes  in,  mounts  the  platform,  and  raps  upon  the 
desk  with  his  gavel. 

Speaker:    "The   House   will   come   to   order." 

John   Quincy  Adams:    "Mr.   Speaker." 

Speaker:    "Mr.    Adams   of    Massachusetts." 

Mr.  Adams:  "I  have  a  petition  against  slavery.  What 
shall  be  done  with  it?" 

Three  members  of  the  House  (rising  and  shaking  their 
fists  at  Mr.  Adams)  cry,  "Treason!  Treason!  Put  him  out! 
Put  him  out!" 

Speaker:  "Order!  Order!  The  House  will  come  to 
order!"  (Raps  with  his  gavel  until  the  members  take  their 
seats.)  "The  gentleman  from  Massachusetts  is  out  of 
order.  The  secretary  will  read  the  resolution  that  is 
before  the  House." 

Secretary:  "Resolved,  that  no  petition,  memorial,  reso 
lution,  or  other  paper,  praying  the  abolition  of  slavery  in 
the  District  of  Columbia,  or  in  any  State  or  Territory,  or  the 
slave  trade  between  the  States  or  Territories  of  the 
United  States  in  which  it  now  exists,  shall  be  received  by 
this  House,  or  entertained  in  any  way  whatever." 

Speaker:    "The  question  is:   Shall  the  resolution   pass?" 

Some  member:  "On  that  motion  I  ask  for  the  yeas 
and  nays." 

Speaker:  "The  yeas  and  nays  are  ordered.  The  sec 
retary  will  call  the  roll." 

Secretary  calls  the  names  of  the  members,  who,  each 
in  turn,  rise  and  answer  either  yea  or  nay.  (The  yeas 
must  have  a  majority.) 

Mr.  Adams  (when  his  name  is  called):  "I  hold  the 
resolution  to  be  a  direct  violation  of  the  Constitution  of 
the  United  States,  the  rules  of  this  House,  and  the  rights 
of  my  constituents,  and  therefore  I  vote  nay." 


PAGE  FIFTY 


Secretary  (after  reckoning  up  the  votes):  "Yeas:" 
(Gives  number  according  to  number  that  take  part.) 
"Nays:"  (gives  number.) 

Speaker:    "The   resolution   has   passed." 

II.  The  Fugitive  Slave  Law   of   1850    is  a   further   illustration. 

A  brief  explanation  of  the  law  should  first  be  given, 
showing  the  main  features  of  the  law  and  the  reason  why 
the  extreme  South  urged  its  passage. 

Three  points  are  taken  for  illustration:  First,  that  it 
was  the  bright  slaves  who  planned  to  escape,  and  mostly 
from  the  border  states;  second,  the  ready  aid  which  they 
received  from  the  people  in  the  North;  third,  the  impos 
sibility  of  enforcing  the  law  against  the  moral  convictions 
of  the  North. 

For  the  first,  take  a  scene  from  Mrs.  Stowe's  Dred  or 
Nina  Gordon.  Tom  Gordon  has  a  personal  servant,  a  very 
bright  and  witty  negro.  He  has  frequently  been  off  into 
the  woods  in  the  early  evening  to  meet  others  of  his  race 
who  are  planning  an  escape.  His  master  becomes  sus 
picious  and  forbids  him  to  be  away  again.  But  Jim  gets 
his  master  in  good  humor  and  begs  off  for  an  hour  to 
attend  a  last  meeting  of  the  would-be  fugitives. 

A  green  hedge  of  laurel,  or  some  evergreen  trees  or 
other  green  may  be  placed  around  the  edge  or  at  the  sides 
of  the  stage  to  represent  the  woods.  The  hedge  may  easily 
be  made  by  fastening  chicken  wire  to  some  support,  and 
sticking  into  it  branches  of  laurel. 

Tom  Gordon  enters  from  one  side  of  the  stage  and 
his  slave  Jim  from  the  other;  they  cross  the  stage  toward 
each  other.  Suddenly  Jim  sees  his  master  and  starts 
back,  then  decides  to  face  it  out.  The  conversation  be 
tween  Jim  and  his  master,  taken  from  Dred,  begins  with: 

Tom  Gordon:  "Why,  Jim,  where  have  you  been?  I've 
been  looking  for  you." 

Jim,    with    ready    wit,    declares    that    he    has    been    to 


PAGE  FIFTY-ONE 


attend  a  religious  meeting  in  the  woods.  Tom  Gordon 
answers  that  he  does  not  believe  a  word  of  it;  that  the 
negro  has  been  up  to  some  spree.  The  conversation  ends: 

Tom  Gordon:  "You  don't  remember  a  word  the 
preacher  said,  I'll  bet.  Where  was  the  text?" 

Jim:  "Text?  'Twas  in  the  twenty-fourth  chapter  of 
Jerusalem,  and  the  sixteenth  verse." 

Tom  Gordon:  "Well,  what  was  it?  I  should  like  to 
know." 

Jim:  "Laws,  mas'r,  I  believe  I  can  'peat  it.  'Twas 
dis  yer:  Ye  shall  sarch  fur  me  in  de  mornin'  and  ye 
won't  find  me.  Dat  ar's  a  mighty  solemn  text,  mas'r,  and 
ye  ought  to  be  'fleeting  on't."  In  the  morning  Jim  is  gone. 

Jim  is,  of  course,  made  up  to  represent  a  negro;  he 
wears  a  long  coat,  torn  and  dirty  (a  grocer's  gray  or 
white  coat  will  do).  Tom  Gordon  wears  the  typical 
Southern  dress. 

The  second  point  is  finely  illustrated  by  scenes  from 
Uncle  Tom's  Cabin.  The  first  scene  shows  a  cosy  room  in 
a  private  house.  A  state  senator  has  just  returned  from 
Columbus,  the  capital  of  Ohio,  where  he  has  been  aiding 
in  passing  a  law  to  help  enforce  the  Fugitive  Slave  Law 
of  1850.  His  wife,  who  is  weak  on  the  legal  side,  but 
with  lively  sympathy  for  all  who  suffer,  takes  him  to  task 
and  declares  that  she  will  never  turn  a  fugitive  slave  from 
her  door.  The  senator  says:  "Of  course  it  would  be  a 
painful  duty."  Just  as  the  woman  is  expressing  her  con 
tempt  for  the  use  of  the  word  "duty"  in  any  such  con 
nection,  the  conversation  is  interrupted  by  the  announce 
ment  that  the  senator's  wife  is  wanted  in  the  kitchen. 
The  curtain  falls. 

When  the  curtain  rises  for  the  second  scene,  it  shows 
in  tableau,  Eliza,  the  fugitive  slave,  lying  on  the  floor, 
the  senator's  wife  down  on  her  knees  beside  her,  holding 
the  slave's  hand  and  looking  pityingly  at  her;  while  the 
senator  himself  stands  near,  also  looking  at  the  slave. 


PAGE  FIFTY-TWO 


In  the  final  scene  the  senator  and  his  wife  are  again 
seated  near  each  other,  and  the  following  conversation 
takes  place: 

Senator:    "I  say,   wife!" 

Wife:    "Well,    dear?" 

Senator:  "She  couldn't  wear  one  of  your  gowns,  could 
she?  She  seems  to  be  rather  larger  than  you  are." 

Wife    (smiling):    "We'll   see." 


THE  SENATOR'S  WIFE 


Senator:  "I  say,  wife,  she'll  have  to  get  away  from 
here  this  very  night.  It's  an  awkward,  ugly  business;  but 
it  will  have  to  be  done,  though.  Cudjoe  must  put  in  the 
horses  about  12  o'clock,  and  I'll  take  her  to  a  place  back 
in  the  woods  where  she'll  be  safe  enough.  Then  Cudjoe 
must  carry  me  on  to  the  next  tavern,  to  take  the  stage  for 


PAGE  FIFTY-THREE 


Columbus,  that  comes  by  about  three  or  four,  and  so  it  will 
look  as  if  I  had  had  the  carriage  only  for  that.  I  shall 
get  into  business  bright  and  early  in  the  morning.  But  I'm 
thinking  I  shall  feel  rather  cheap  there,  after  all  that's 
been  said  and  done;  but  hang  it,  I  can't  help  it!" 

Wife  (going  up  to  the  senator  and  putting  her  hand 
on  his  shoulder) :  "Your  heart  is  better  than  your  head, 
in  this  case,  John." 

The  senator's  wife  is  represented  by  a  girl  dressed 
in  a  long,  old-fashioned  dress,  with  a  kerchief  about  her 
neck,  and,  her  hair  arranged  low  with  a  comb  according 
to  the  style  about  1850.  Eliza  is  dressed  to  represent  a 
poor  slave  woman. 

After  this  are  two  tableaux,  illustrating  the  working 
of  the  Fugitive  Slave  Law:  "The  Capture  of  a  Fugitive 
Slave"  and  "The  Rescue  of  the  Slave."  In  the  first  tableau 
the  runaway  slave  is  down  on  his  knees,  in  the  attitude 
of  try:ng  to  escape,  and  two  slave  hunters  have  hold  of 
him.  One  of  the  slave  hunters  has  a  whip  and  the  other 
a  heavy  chain. 

In  the  second  tableau  the  captors  of  the  slave  have 
just  been  driven  back  by  three  rescuers.  The  slave  is 
crouched  near  his  rescuers;  one  of  the  men  has  a  hand  on 
the  slave's  shoulder,  reassuring  him,  and  the  other  two 
have  their  arms  raised,  threatening  and.  driving  back  the 
pursuers.  During  the  second  tableau  someone  from  the 
wings  gives  the  following  quotation: 

"The  voice  of  Massachusetts!  Of  her  free  sons  and  daughters, 
Deep  calling  unto  deep  aloud — the  sound  of  many  waters! 
Against  the  burden  of  that  voice  what  tyrant  power  shall 

stand? 
No   fetters   in   the   Bay   State!   No  slave   upon   her   land!" 

Music:    Any   patriotic   or   appropriate   selection. 


PAGE  FIFTY-FIVE 


III.     The  Kansas-Nebraska  Act. 

This  famous  attempt  to  settle  the  slavery  question  by 
leaving  the  whole  matter  to  the  people  of  the  different 
territories,  proved  to  be  one  of  the  strongest  influences  in 
bringing  about  its  destruction.  One  of  the  first  and  the 
most  lasting  results  of  this  legislation  was  the  organization 
of  a  society  to  foster  the  emigration  of  free  laborers  from 
the  North  and  from  Europe  to  Kansas,  for  permanent 
settlement.  This  point  is  taken  for  illustration  here,  al 
though  there  are  many  other  phases  of  the  subject  which 
would  readily  lend  themselves  to  such  treatment. 

Tableau:    "The   Kansas    Emigrants." 

Three  boys,  a  young  woman  and  a  little  girl, 
are  used  to  represent  a  company  of  these  emigrants. 
A  prairie  schooner  must  have  a  place  on  the  stage. 
A  boy's  wagon,  covered  with  canvas,  will  serve,  but 
it  would  be  better  if  it  were  larger.  Two  of  the 
boys,  carrying  guns,  should  stand  by  the  schooner; 
on  the  other  side  of  the  stage  another  boy  is  seen  bringing 
water.  A  fire  must  be  shown  on  the  stage — a  gas  log  is 
the  most  convenient  way  of  representing  this — and  the 
woman  and  little  girl  should  be  standing  near,  arranging 
for  the  evening  meal.  There  are  a  variety  of  ways  by 
which  a  crane  can  be  represented,  with  the  proper  cooking 
utensils  suspended  over  the  fire.  As  this  tableau  is  shown 
on  the  stage,  someone  in  the  wings  gives  a  quotation  from 
Whittier's  poem,  "The  Kansas  Emigrants,"  beginning  with 

"We   cross  the   prairie,    as   of   old 
The   Pilgrims   crossed    the   sea." 

Music. 
IV.    Dred   Scott  Decision. 

This  decision  is  the  most  important  action  of  the 
courts  in  regard  to  slavery  before  the  Civil  War. 


PAGE  FIFTY-SIX 


For  this  scene  a  red  curtain  is  drawn  across  the  back 
of  the  stage,  and  high  upon  this  curtain  is  placed  a  large 
eagle  cut  out  of  gilt  paper  and  pasted  upon  a  background 
of  white  cloth;  across  the  front  of  the  stage  is  drawn  a 
black  curtain  which  comes  to  about  the  height  of  an  or 
dinary  chair.  Between  these  curtains  are  arranged  nine 
chairs  in  a  semi-circle.  At  the  beginning  of  this  scene 
only  the  court  crier  is  upon  the  stage;  he  stands  at  one 
side  of  the  chairs,  and  says: 

"The  Honorable,  the  Chief  Justice  and  the  Associate 
Justices  of  the  Supreme  Court  of  the  United  States." 

The  chief  justice,  followed  by  the  eight  associate  jus 
tices,  now  enter  and  take  their  seats,  the  chief  justice  in 
the  center. 

The   crier   then   says: 

"Oyez,  Oyez,  Oyez!  All  persons  having  business  before 
the  Honorable  Supreme  Court  are  admonished  to  draw 
near  and  give  their  attention,  for  the  Court  is  now  sitting. 
God  save  the  United  States  and  this  Honorable  Court!" 

The  decision  of  the  Supreme  Court  in  the  Dred  Scott 
case  is  then  read  by  the  party  representing  Chief  Justice 
Taney.  The  following  condensed  form  may  be  used: 

Decision  in  the  Dred   Scott  Case — Majority  opinion. 
Decision  rendered  by  me,  Chief  Justice  Taney,  March,  1857. 

No  negro,  whether  free  or  slave,  is  a  citizen  of  the 
United  States,  and  there  is  no  constitutional  process  by 
which  he  can  become  so. 

Therefore,  under  the  laws  of  the  United  States,  a 
negro  can  neither  sue  nor  be  sued,  and,  as  a  consequence, 
the  court  has  no  jurisdiction  in  the  Dred  Scott  case. 

A  slave  is  simply  a  piece  of  property  or  personal  chat 
tel,  to  be  taken  from  state  to  state  like  a  horse  or  cow, 
without  the  rights  of  the  owner  being  affected.  The  Mis 
souri  Compromise  and  the  Compromise  of  1850  are  there 
fore  unconstitutional,  and  null  and  void. 


PAGE  FIFTY-SEVEN 


Associate  Justices  Wayne,  Nelson,  Grier,  Daniel,  Camp 
bell  and  Catron  concur  in  this  decision. 

Judges   McLean   and   Curtis   dissent. 

The  judges  wear  long,  black  robes,  and  have  their  hair 
powdered. 

PART  III 
Final  Settlement  of  the  Slavery  Conflict 

I.    Election   of   Lincoln   as   President   of   the   United   States. 

A  brief  description  of  Lincoln's  election  and  inaugura 
tion  (adapted  from  various  sources)  is  given  first.  See 
Youth's  Companion,  Feb.  16,  1911. 

Next  the  inaugural  scene,  with  a  quotation  from  Lin 
coln's  first  inauguration  address,  may  be  given. 

Upon  the  platform  is  placed  a  small  table;  behind  the 
table  stand  some  of  the  judges  of  the  Supreme  Court,  and 
Lincoln  comes  upon  the  stage  and  gives  a  selection  from 
the  inaugural  address.  Lincoln  should  be  dressed  in  an 
old-fashioned  coat,  and  wear  an  old-fashioned  black  hat, 
which  Senator  Douglas  holds  during  the  exercises. 

IT.    Poem:    "Astraea   at   the    Capitol,"    by   Whittier. 

Selections  from  this  poem  are  read.  It  was  written 
concerning  the  abolition  of  slavery  in  the  District  of  Co 
lumbia  in  1862. 

III.  Emancipation. 

This  is  shown  by  a  tableau  in  which  the  Goddess  of 
Liberty  is  freeing  a  slave.  The  slave  woman  is  kneeling 
in  front  of  the  goddess  and  a  heavy  iron  chain,  signifying 
slavery,  is  just  falling  from  her  wrists. 

Music:    Kipling's   Recessional. 

IV.  Union:    Angel   of  Peace. 

The  VI,  VII  and  VIII  (last  three)  stanzas  of  a  poem 
entitled  "Peace,"  by  Edward  Peple,  are  read.  This  part 

5 


PAGE  FIFTY-EIGHT 


of   the    poem    commences:    "Oh,    slumbering    heroes,    cease 
to   dream  of  war!" 

The  last  tableau  represents  the  Angel  of  Peace  crown 
ing  the  North  and  the  South.  The  North  and  the  South 
are  represented  by  two  soldier  boys,  one  dressed  in  army 


EMANCIPATION 

blue  and  the  other  in  gray.  The  boys  are  kneeling  in 
the  foreground,  the  boy  in  gray  has  his  hand  on  the 
other's  shoulder,  and  their  attitude  is  one  of  repose.  Above 
and  back  of  the  boys  is  the  Angel  of  Peace,  holding  above 
their  heads  a  green  wreath. 


PEACE   PAGEANT 

Showing  the  World's  Progress  Toward  Universal  Peace 


This  entertainment  was  prepared  to  illustrate  the  progress 
which  the  world  is  making  toward  international  peace.  It 
uses  as  a  back  ground  a  suggestion  of  the  nature  of  war;  then 
commencing  with  the  time  of  the  Hebrew  Prophets,  whose 
visions  included  a  coming  age  of  "universal  peace,"  it  attempts 
to  trace  the  development  of  this  idea  through  the  centuries  to 
the  present  time.  Finally  the  twentieth  century  is  chosen  as 
the  time  for  the  fulfilment  of  this  "glorious  prophecy  of  old." 

CHARACTERS 

Boys,   representing  war. 

Three  Hebrew  prophets. 

Child,    representing    the   Birth    of    Christ. 

A   Christian   missionary. 

Savages. 

St.   Elizabeth   of  Hungary. 

Several    monks. 

Churchman   of  the   Middle   Ages. 

Knight   of   the   Middle   Ages. 

Boys,  representing  the  period  of  the  Renaissance  and 
Reformation. 

William    Penn;    other    Quakers    and    Indians. 

Children,  representing  Chile  and  the  Argentine  Re 
public. 

Laborers. 

Children,    representing    Peace    Heroes. 

Girls,    representing   women    favoring   peace. 

Red  Cross  nurses. 

Russian    officer. 


PAGE  SIXTY 


Girl,    representing    the    United    States. 

Dutch,   girls. 

Representatives  from  different  countries  at  the  Hague. 

Girls  representing   the   triumph  of   peace. 

Readers   and    story    tellers. 

COSTUMES 

The  child,  representing  Christ,  may  be  appropriately 
dressed  in  white  with  a  green  wreath  on  her  head. 

The  missionary  should  have  a  costume  like  those 
shown  in  pictures  of  the  early  missionaries.  Wrap  the 
savages  in  fur  or  very  coarse  garments. 

St.  Elizabeth  should  have  a  white  robe,  arranged  in 
the  style  of  the  early  centuries. 

There  are  many  pictures  of  the  long  black  robes  of 
the  early  monks.  The  same  is  true  of  the  dress  appro 
priate  for  the  churchman,  knight,  Quakers,  Indians,  labor 
ers,  Red  Cross  nurses,  Russian  officer  and  Dutch  girls. 
Of  course  the  Stars  and  Stripes  should  be  draped  about 
the  girl  who  represents  the  United  States.  White  blouses 
are  appropriate  for  the  Peace  Heroes,  and  white  dresses 
for  the  girls  who  appear  in  the  processions. 

I.    The  dark  side  of  war. 

This  is  pictured  or  suggested  by  a  procession  of  boys, 
dressed  in  dark  suits,  wearing  black  bands  across  their 
shoulders  upon  which  the  word  war  appears  in  red.  One 
of  the  boys  carries  a  black  banner,  inscribed  in  the  same 
manner.  The  procession  moves  to  slow  music.  When 
the  procession  stops  for  a  moment  on  the  stage  the  follow 
ing  quotation  is  given: 


PAGE  SIXTY-ONE 


"Hark!    the   cry   of  Death   is   ringing 

Wildly   from   the   reeking   plain; 
Guilty  glory,   too,   is  flinging 

Proudly   forth  her   vaunting   strain; 
Thousands    on   the    field    are   lying, 

Slaughtered   in   the   ruthless   strife; 
Wildly   mingled,    dead   and    dying 

Show   the    waste    of   human   life." 

Music:    "How    Beautiful    upon    the    Mountains,"    etc. 


WAR  PROCESSION 

If.    Prophecy    of   Peace. 

Reading  of  Isaiah's  Prophecy   of  Peace: 
"The  people  that  walked  in   darkness 
Have  seen  a  great  light; 

They   that   dwelt   in   the    land    of   the   shadow   of   death, 
Upon    them   hath   the   light  shined. 


PAGE  SIXTY-TWO 


"For  all   the  armour  of  the   armed   man   in   the  tumult, 
And    the    garments    rolled    in    blood, 
Shall   even   be  for   burning, 
For   fuel   of   fire. 

"For    unto   us   a   child    is   born, 
Unto  us  a  son  is  given; 

And   the  government  shall    be    upon    his  shoulder; 
And    his   name   shall    be    called 

Prince  of   Peace. 


Ml 


CHILD  WITH  CROSS 

"Of  the  increase  of  his  government, 
And   of  peace   there   shall   be   no   end. 

"And  they  shall  beat  their  swords  into  plowshares,  and 
their  spears  into  pruninghooks;  nation  shall  not  lift  up  sword 
against  nation;  neither  shall  they  learn  war  any  more." 


PAGE  SIXTY -THREEi 


Just  before  this  last  quotation  is  given,  the  curtain 
rises  for  the  tableau  of  the  Prophets — Zechariah,  Haggai 
and  Malachi.  These  three  prophets  are  draped  and  posed 
according  to  the  idea  in  Sargent's  "Prophets,"  so  as  to 
indicate  as  plainly  as  possible  that  they  are  looking  and 
hoping  for  some  beautiful  and  wonderful  event  in  the 
future. 

Music,    "It   Came  Upon   the    Midnight,    Clear." 

III.  Message   of  Universal  Peace. 

This  is  represented  by  a  tableau:  The  Birth  of  Christ. 
A  little  child,  dressed  in  white,  holds  a  large  cross.  The 
cross  is  covered  with  green  foliage. 

During  this  tableau  the  following  quotation  from  Mil- 
tori  is  given: 

"No   war  or  battle's  sound 
Was    heard    the   world    around. 

But   peaceful   was  the  night, 
Wherein   the   Prince   of   Light 

His   reign  of  peace   upon   the   earth   began." 

IV.  Progress  of  peace  in  the  centuries  since  the  Birth  of  Christ. 
1.    The   early  centuries  after  Christ. 

From  the  early  centuries  after  the  birth  of  Christ 
three  subjects  for  illustration  were  chosen.  First  the 
preaching  of  the  Christian  missionaries;  second,  the  char 
ity  and  good  works  of  the  early  Christians;  third,  the  in 
fluence  of  the  monasteries. 

The  preaching  of  Christian  missionaries  is  represented 
by  a  tableau,  in  which  a  boy  holding  a  tall  cross  is 
preaching  to  a  group  of  savages.  While  this  tableau  is 
shown  upon  the  stage  some  one  from  the  wings  says: 

"The  Fatherhood  of  God;  the  Brotherhood  of  Man;" 
thus  indicating  the  chief  doctrines  which  the  missionary 
is,  supposed  to  be  preaching.  These  are  the  doctrines, 


PAGE  SIXTY-FOUR 


also,  which  tend  most  directly  toward  universal  peace. 
The  beautiful  legend  told  of  St.  Elizabeth  of  Hungary  is 
typical  of  the  charity  of  the  early  Christians.  St.  Eliza 
beth  was  one  day  going  to  relieve  the  poor,  when  she 
suddenly  saw  the  folds  of  her  cloak  covered  with  roses 
in  full  bloom.  The  charity  of  the  early  Christians  and 


A  COMPANY  OF  MONKS  IN  COSTUME 


the  legend  of  St.  Elizabeth  are  described  briefly  and  then 
the  tableau  of  St.  Elizabeth,  holding  in  the  folds  of  her 
dress  beautiful  roses,  is  shown.  (See  picture  in  Military 
and  Religious  Life  in  the  Middle  Ages,  by  Paul  Lacroix. ) 
A  brief  reading  is  given  to  show  the  value  and  in 
fluence  in  favor  of  peace  of  the  monasteries  (adapted 
from  Kingsley's  The  Roman  and  the  Teuton.)  This  part 


PAGE  SIXTY-FIVE 


ends    with    a    tableau    showing    a    company    of    monks    in 
costume. 

2.    The  Middle   Ages. 

For  illustration  take  the  two  most  important,  refining 
and  civilizing  agencies  of  this  period,  the  church  and 
chivalry.  The  influence  of  the  church  in  favor  of  peace 
is  illustrated  by  the  "Truce  of  God."  This  was  proclaimed 
by  the  church  and  forbade  any  fighting  upon  certain 
specified  days. 

The  following  condensed  form  of  this  truce  is  supposed 
to  be  given  by  a  churchman  of  the  Middle  Ages: 

"Proclamation   of   the   'Truce  of   God!' 
"All    fighting    is    forbidden    from    Thursday    evening    to 

Monday    morning    in    every    week;     on    all    feast    days;     in 

Advent,  and   in  Lent. 

"By    Authority    of    the    Holy    Roman    Catholic    Church, 

A.    D.    1041." 

The  second  point  is  illustrated  by  the  vow  of  the 
knight.  A  knight  comes  upon  the  stage  and  takes  the 
oath  or  vow  of  knighthood.  The  following  form  may  be 
used: 

"I  promise  to  fear,  revere,  and  serve  God  religiously; 
to  die  a  thousand  deaths  rather  than  renounce  Christian 
ity;  to  serve  my  sovereign  prince  faithfully;  to  maintain 
the  just  right  of  the  weak,  such  as  of  widows,  orphans 
and  maidens.  I  swear  that  avarice,  gain,  or  profit  shall 
never  oblige  me  to  do  any  action,  but  only  glory  and 
virtue;  I  will  hold  myself  bound  to  conduct  a  lady  or 
maiden;  I  will  serve  her,  protect  her,  and  save  her  from 
all  danger,  or  die  in  the  attempt.  I  will  faithfully  observe 
my  word  and  pledged  faith." 

(Adapted  from  the  Oath  of  a  Knight  in  Sheldon's 
General  History.) 


PAGE  SIXTY-SIX 


3.  Period  of  the  Renaissance  and  the  Reformation. 

A  brief  explanation  of  the  period  is  first  given.  This 
explanation  commences  with  the  following  quotation: 

"Thundering  and  bursting,   in  torrents,  in  waves; 

Carolling   and   shouting   o'er   tombs,    amid    graves; 

See   on  the  cumbered   plain,   clearing  a  stage, 

Scattering  the  past  about,  comes  a  new  age! 

"All    things   begin   again;    life   is   their   prize; 

Earth   with  their  deeds  they  fill,   fill  with  their  cries." 

Among  the  points  mentioned  as  proving  the  coming  of 
this  new  age  are  these:  The  increase  in  wealth  and  power 
of  the  merchant  class,  and  their  desire  for  peace;  the  in 
ventions  of  this  period,  especially  those  of  gunpowder, 
which  made  war  less  brutalizing;  of  printing,  which  opened 
learning  to  the  lower  classes;  the  Reformation,  which 
opened  again  to  the  people  the  Bible  with  its  teaching  of 
peace  and  universal  brotherhood. 

After  the   explanation  a   tableau  is  given,   showing: 

Increase  of  commerce.  (A  boy  with  a  ship,  made  to 
represent  those  of  this  period.) 

Use   of  gunpowder — Boy   with   an   old    powder    horn. 

Interest  in  learning.  (Greek  and  Latin  manuscripts.) 
Boy  with  rolls  of  parchment. 

Invention   of  printing — Boy   with   a   case   of   type. 

Effect  of  Reformation — Boy  with  an  open   Bible. 

4.  Modern  Period. 

As  an  introduction  to  the  period,  use  a  part  of  Ten 
nyson's  poem,  "Ring  out  the  old,  ring  in  the  new." 

Three  illustrations  for  the  modern  period  were  given. 
Others  might  be  chosen.  The  first  was  the  influence  of 
the  Quakers;  the  second  the  treaty  between  Chile  and  the 
Argentine  Republic;  the  third  the  influence  of  modern 
means  of  communication  in  promoting  peace. 


PAGE  SIXTV-SEVEN[ 


Reading — "The  Quaker  Movement  in  America"  (con 
densed  from  Stepping  Stones  of  American  History.) 

After  the  reading  a  tableau  is  shown:  Penn's  treaty 
with  the  Indians.  William  Penn  and  the  Indian  chief 
stand  in  the  center;  other  Indians  and  Quakers  are  group 
ed  about  the  stage;  the  Indian  chief  holds  out  a  wampum 
belt  to  William  Penn,  and  says:  "We  will  live  in  love  with 
William  Penn  and  his  children  as  long  as  the  sun  and 
moon  shall  endure." 

Chile  and  the  Argentine  Republic  settled  a  dispute 
over  their  boundary  by  treaty  rather  than  by  war;  and  in 
commemoration  of  this  they  placed,  on  the  summit  of  the 
Andes,  a  colossal  statue  of  Christ.  To  represent  this  an 
explanation  and  tableau  are  given.  In  the  tableau  are  two 
children  bearing  the  flags  of  the  two  countries,  and  be 
tween  these  a  large  cross. 

The  influence  of  modern  means  of  communication  in 
promoting  peace  between  nations  is  briefly  explained.  Then 
the  modern  means  of  communication  are  illustrated  by 
posters.  These  posters  showed  steam  and  electric  cars, 
steamboats,  the  postal  system,  automobiles,  etc.  Some  of 
the  posters  were  made  by  pupils  in  the  Normal  School. 

V.    Heroes  of  Peace. 

A  few  stories  of  heroic  deeds  in  times  of  peace  are 
told.  After  this  there  is  a  tableau  in  which  a  boy  carries 
a  motto,  illustrating  this  point,  and  other  boys  grouped  on 
either  side  carry  shields  with  the  names  of  heroes  of  peace 
upon  them.  These  shields  were  made  by  pupils  in  the 
Normal  School  under  the  supervision  of  the  drawing  de 
partment. 

The  heroic  deeds  selected  for  description  were  those 
of  Dr.  Lazear,  who-  gave  his  life  to  prove  that  the  mos 
quito  transmits  the  yellow  fever  germ,  of  Rufus  Combs, 
who  saved  the  life  of  his  bitter  enemy,  and  of  Richard 
Hughes,  who,  at  the  risk  of  his  own  life,  saved  the  life 


PAGE  SIXTY-EIGHT 


of  a  fellow  workman,  injured  by  an  explosion  of  dynamite, 
and  exposed  to  the  risk  of  a  second  explosion. 

VI.    Classes  which  should  especially  favor  peace. 

Men  who  labor  with  their  hands  for  a  living,  men  in 
business,  and  women  were  selected  as  representing1  these 
classes,  following  a  suggestion  of  Justice  Brewer  in  his 


PEACE  HEROES 

address  on  peace.  Three  pupils  from  the  eighth  grade  of 
the  Practice  School  wrote  and  read  brief  papers  showing 
why  these  classes  are  especially  interested  in  the  estab 
lishment  of  universal  peace.  This  point  was  illustrated  by 
a  procession  of  laborers,  by  large  posters  showing  some  of 
the  business  sections  of  the  city  of  Fitchburg,  and  by  a 


PAGE  SIXTY -NINE 


company    of    girls    carrying    a    banner    inscribed    with    the 
words  "Women  favor  peace." 

Music:    "Hymn  of  Peace." 

VII.  Work  of  the  Red  Cross  Society. . 

The  story  of  the  life  of  Clara  Barton  is  briefly  told. 
This  story  may  be  found  in  "An  American  Book  of  Golden 
Deeds,"  by  James  Baldwin.  A  large  number  of  girls  from 
the  eighth  grade  of  the  Practice  School,  in  the  costume  of 
Red  Cross  nurses,  are  upon  the  stage  while  this  story  is 
being  told.  These  girls  made  their  own  Red  Cross  badges. 

VIII.  Proposal  for   the  First  Meeting  of  the   Peace  Conference 
at  The  Hague. 

A  condensation  of  this  proposal  is  read  by  a  boy  in 
the  costume  of  a  Russian  officer. 

IX.  Proposal  for  the  Second  Meeting  of  the  Peace   Conference 
at  The  Hague. 

This  is  given  in  a  condensed  form  by  a  young  lady 
representing  the  United  States. 

Music:   "To  Thee,  O  Country." 

X.  Meeting  of  the  Second  Peace  Conference  at  The  Hague. 

Girls  in  Dutch  costume  in  the  background  of  the  scene 
suggest  that  we  are  in  Holland.  Boys  are  seated  in  a 
semi-circle  upon  the  stage.  They  are  representatives  from 
the  most  important  countries  in  the  world. 

Bands  across  their  shoulders  give  the  names  of  these 
countries. 

A  brief  summary  of  the  final  results  of  the  Peace 
Conference  is  read  by  one  of  the  boys. 

The  material  for  these  proposals  for  the  conferences 
and  for  this  summary  may  be  found  in  "Texts  of  the  Peace 


PAGE  SEVENTY 


Conferences    at    The    Hague,     1899    and    1907,"    edited    by 
James  Brown  Scott. 

XL    Triumph    of   Peace    between    the   Nations    of    the    World — 
20th   century. 

A  quotation  from  Tennyson  is  first  given: 


PEACE  PROCESSION 


"For  I  dipped  into  the  future,  far  as  human  eye  could  see, 
Saw  the  vision  of  the  world,  and  all  the  wonder  that  would 
be,"   etc. 

A  procession  of  girls  representing  International  Peace 
in  the  20th  century  then  marches  upon  the  stage,  bearing 
a  Peace  Banner.  The  banner  is  white  with  a  gray  dove 


PAGE  SEVENTY-ONE 


and   the  words  "Peace,   20th   Century"    upon   it.     The   ban 
ner  bearer  steps  forward  and  gives  the  following  quotation: 

"God  shall   spread   abroad   His   banner, 
Sign  of  universal  peace; 
And   the  earth  shall   shout  Hosanna, 
And  the   reign  of  blood  shall  cease." 

Music:    Kipling's   "Recessional." 


UNIVERSITY    OF   CALIFORNIA 
BRANCH    OF   THE   COLLEGE   OF    AGRICULTURE 

THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 


APR  2  7REITD 
DUE  JUN  14  1971 

ki4 


lm-5,'30 


istoricaL  pageants 


£/79 

A]  5" 


.LIBRARY,  BRANCH  OF  THE  COLLEGE  OF  AGRICULTURE,  DAVIS 


ft   •? 


•if 


